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This book is a sequel to Self as Body in Asian Theory and Practice (SUNY, 1992) and anticipates a third book, Self as Image in Asian Theory and Practice. In order to address issues as diverse as the promotion of human rights or the resolution of sexism in ways that avoid inadvertent lapses into cultural chauvinism, alternative cultural perspectives that begin from differing conceptions of self and self-realization must be articulated and respected. This book explores the articulation of personal character within the disparate cultural experiences of Japan, China, and South Asia.
This book is an investigation of the relationship between self and body in the Indian, Japanese, and Chinese philosophical traditions. The interplay between self and body is complex and manifold, touching on issues of epistemology, ontology, social philosophy, and axiology. The authors examine these issues and make relevant connections to the Western tradition. The authors' allow the Asian traditions to shed new light on some of the traditional mind-body issues addressed in the West.
This is the third in a series dealing with the concept of self and its importance in understanding Chinese, Japanese, and Indian cultures. The authors examine the relationship between self and image and its significance in attaining a deeper knowledge of Chinese, Japanese, and Indian cultures. The relationship between self and image is as complex as it is fascinating. It takes on different meanings and significances in diverse cultures. In this volume, the focus of attention is largely on representational practices and symbolic media, such as literature, cinema, art, and dance. By examining both classical and contemporary works associated with China, India, and Japan, the authors seek, on the one hand, to demonstrate the intricate relationship between self and image and, on the other, to make use of that relationship to further our understanding of these cultures.
Explores, from a cross-cultural viewpoint and in terms of symbolic expression, the self's problematic relationship to language and art and to the culture embedding the language and art.
Treats the nature and ethical significance of emotions from a comparative cultural perspective emphasizing Asian traditions.
Examines the issues of self (including gender), truth, and transcendence in classical Chinese and Western philosophy.
Distinguished scholars discuss the problem of self-deception, or rather, self and deception.
This book addresses the Confucian philosophy of common good and deals with the comparative philosophy on eastern and western understandings of common good. The common good is an essentially contested concept in contemporary moral and political discussions. Although the notion of the common good has a slightly antique air, especially in the North Atlantic discussion, it has figured prominently in both the sophisticated theoretical accounts of moral and political theory in recent years and also in the popular arguments brought for particular political policies and for more general orientations toward policy. It has been at home both in the political arsenal of the left and the right and has had special significance in ethical and political debates in modern and modernizing cultures. This text will be of interest to philosophers interested in Chinese philosophy and issues related to individualism and communitarianism, ethicists and political philosophers, comparative philosophers, and those in religious studies working on Chinese religion. ​
This book examines the link between sensual austerity and moral leadership—a topic largely neglected in contemporary academic scholarship and public policy—by exploring the comparative cross-cultural perspectives of Plato, Confucius, and Gandhi, on this theme. Despite the diverse cultural contexts that gave rise to their respective philosophical perspectives, they shared similar views on what might constitute a universal and perennial basis for individual moral development in any harmonious political order. They all agreed that sensual austerity is necessary for the realization of a flourishing society and political culture: recognizing that control over sensual desire is both a vehicle for individual moral self-cultivation and social-political progress. Sensual austerity is thus an essential aspect of any morally governed person, institution, state, or society. The book also argues that further examination of this theme may assist scholars and policymakers in developing more peaceful and harmonious national and global communities.
In the period between the 1920s and 1940s, a genre emerged in Chinese literature that would reveal crucial contradictions in Chinese culture that still exist today. At a time of intense political conflict, Chinese women began to write autobiography, a genre that focused on personal identity and self-exploration rather than the national, collective identity that the country was championing. When "I" Was Born: Women's Autobiography in Modern China reclaims the voices of these particular writers, voices that have been misinterpreted and overlooked for decades. Tracing women writers as they move from autobiographical fiction, often self-revelatory and personal, to explicit autobiographies that focused on women's roles in public life, Jing M. Wang reveals the factors that propelled this literary movement, the roles that liberal translators and their renditions of Western life stories played, and the way in which these women writers redefined writing and gender in the stories they told. But Wang reveals another story as well: the evolving history and identity of women in modern Chinese society. When "I" Was Born adds to a growing body of important work in Chinese history and culture, women's studies, and autobiography in a global context. Writers discussed include Xie Bingying, Zhang Ailing, Yu Yinzi, Fei Pu, Lu Meiyen, Feng Heyi, Ye Qian, Bai Wei, Shi Wen, Fan Xiulin, Su Xuelin, and Lu Yin.